{"product_id":"romantic-poetry-isbn-9780631213178","title":"Romantic Poetry","description":"Easily adaptable as both an anthology and an insightful guide to reading and understanding Romantic Poetry, this text discusses the important elements in the works from poets such as Smith, Blake, Wordsworth, Coleridge, Southey, Barbauld, Byron, Shelley, Hemans, Keats and Landon.\u003cbr\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eOffers a thorough examination of the essential elements of Romantic Poetry\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eHighly selective, the text examines each of its poems in great detail\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eDiscusses theme, genre, structure, rhyme, form, imagery, and poetic influence\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eHelpful head notes and annotations provide relevant contextual information and in-depth commentary\u003c\/li\u003e \u003c\/ul\u003e  Selected Contents by Theme. \u003cp\u003eList of Plates.\u003c\/p\u003e \u003cp\u003eNote on Texts and Editorial Method.\u003c\/p\u003e \u003cp\u003eIndex of Themes.\u003c\/p\u003e \u003cp\u003eChronology of Events and Poetic Landmarks.\u003c\/p\u003e \u003cp\u003eIntroduction: Romantic Doubleness.\u003c\/p\u003e \u003cp\u003eAcknowledgements.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAnna Laetitia Barbauld, neé Aikin (1743--1825)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThe Rights of Woman.\u003c\/p\u003e \u003cp\u003eInscription for an Ice-House.\u003c\/p\u003e \u003cp\u003eTo Mr. S. T. Coleridge.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eCharlotte Smith, neé Turner (1749--1806).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSonnet 1 ['The partial Muse, has from my earliest hours'].\u003c\/p\u003e \u003cp\u003eSonnet VII. On the Departure of the Nightingale.\u003c\/p\u003e \u003cp\u003eSonnet XII. Written on the Sea Shore. – October, 1784.\u003c\/p\u003e \u003cp\u003eSonnet XXX. To the River Arun.\u003c\/p\u003e \u003cp\u003eSonnet XXXII. To Melancholy.\u003c\/p\u003e \u003cp\u003eSonnet XXXIX. To Night.\u003c\/p\u003e \u003cp\u003eSonnet XLIV. Written in the Church-yard at Middleton in Sussex.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Blake (1757--1827)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003efrom Songs of Innocence and of Experience.\u003c\/p\u003e \u003cp\u003e(from Innocence).\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eThe Ecchoing Green.\u003c\/p\u003e \u003cp\u003eThe Lamb.\u003c\/p\u003e \u003cp\u003eThe Little Black Boy.\u003c\/p\u003e \u003cp\u003eThe Chimney Sweeper.\u003c\/p\u003e \u003cp\u003eHoly Thursday.\u003c\/p\u003e \u003cp\u003eNurse’s Song.\u003c\/p\u003e \u003cp\u003e(from Experience).\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003eThe Clod and the Pebble.\u003c\/p\u003e \u003cp\u003eHoly Thursday.\u003c\/p\u003e \u003cp\u003eThe Sick Rose.\u003c\/p\u003e \u003cp\u003eThe Fly.\u003c\/p\u003e \u003cp\u003eThe Tyger.\u003c\/p\u003e \u003cp\u003eAh! Sun-flower.\u003c\/p\u003e \u003cp\u003eLondon.\u003c\/p\u003e \u003cp\u003eA Poison Tree.\u003c\/p\u003e \u003cp\u003eVisions of the Daughters of Albion.\u003c\/p\u003e \u003cp\u003eThe First Book of Urizen.\u003c\/p\u003e \u003cp\u003eThe Mental Traveller.\u003c\/p\u003e \u003cp\u003eThe Crystal Cabinet.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Wordsworth (1770--1850)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eLines written at a small distance from my House, and sent by my little Boy to the Person to whom they are addressed.\u003c\/p\u003e \u003cp\u003eSimon Lee, the old Huntsman, With an incident in which he was concerned.\u003c\/p\u003e \u003cp\u003eAnecdote for Fathers, Shewing how the practice of Lying may be taught.\u003c\/p\u003e \u003cp\u003eLines written in early Spring.\u003c\/p\u003e \u003cp\u003eThe Thorn.\u003c\/p\u003e \u003cp\u003eThe Last of the Flock.\u003c\/p\u003e \u003cp\u003eThe Idiot Boy.\u003c\/p\u003e \u003cp\u003eExpostulation and Reply.\u003c\/p\u003e \u003cp\u003eThe Tables Turned; An Evening Scene, on the same subject.\u003c\/p\u003e \u003cp\u003eLines written a few miles above Tintern Abbey, on revisiting the banks of the Wye during a Tour, July 13, 1798.\u003c\/p\u003e \u003cp\u003eThe Ruined Cottage.\u003c\/p\u003e \u003cp\u003eStrange Fits of Passion I have Known.\u003c\/p\u003e \u003cp\u003eSong: 'She Dwelt among th'untrodden Ways'.\u003c\/p\u003e \u003cp\u003eA Slumber did my Spirit Seal.\u003c\/p\u003e \u003cp\u003eThe Two April Mornings.\u003c\/p\u003e \u003cp\u003eThe Fountain, A Conversation.\u003c\/p\u003e \u003cp\u003eNutting.\u003c\/p\u003e \u003cp\u003eMichael, A Pastoral Poem.\u003c\/p\u003e \u003cp\u003eFrom The Prelude (1805), Book 1.\u003c\/p\u003e \u003cp\u003eResolution and Independence.\u003c\/p\u003e \u003cp\u003eThe World is Too Much With Us.\u003c\/p\u003e \u003cp\u003eComposed upon Westminster Bridge, Sept. 3, 1803.\u003c\/p\u003e \u003cp\u003eOde (from 1815 entitled ‘Ode. Intimations of Immortality from Recollections of Early Childhood’).\u003c\/p\u003e \u003cp\u003eThe Solitary Reaper.\u003c\/p\u003e \u003cp\u003eElegiac Stanzas, Suggested by a Picture of Peele Castle in a Storm, Painted by Sir George Beaumont.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSamuel Taylor Coleridge (1772--1834)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThe Eolian Harp. Composed at Clevedon, Somersetshire.\u003c\/p\u003e \u003cp\u003eReflections on Having Left a Place of Retirement.\u003c\/p\u003e \u003cp\u003eThis Lime-Tree Bower My Prison.\u003c\/p\u003e \u003cp\u003eKubla Khan.\u003c\/p\u003e \u003cp\u003eThe Rime of the Ancient Mariner.\u003c\/p\u003e \u003cp\u003eChristabel.\u003c\/p\u003e \u003cp\u003eFrost at Midnight.\u003c\/p\u003e \u003cp\u003eFrance: An Ode.\u003c\/p\u003e \u003cp\u003eThe Nightingale: A Conversation Poem, April, 1798.\u003c\/p\u003e \u003cp\u003eThe Pains of Sleep.\u003c\/p\u003e \u003cp\u003eDejection: An Ode.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eGeorge Gordon, Lord Byron (1788--1824)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eStanzas to [Augusta].\u003c\/p\u003e \u003cp\u003e[Epistle to Augusta].\u003c\/p\u003e \u003cp\u003eStanzas to the Po.\u003c\/p\u003e \u003cp\u003eDon Juan.\u003c\/p\u003e \u003cp\u003eThe Dedication.\u003c\/p\u003e \u003cp\u003eCanto 1.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePercy Bysshe Shelley (1792--1822)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eAlastor; or, The Spirit of Solitude.\u003c\/p\u003e \u003cp\u003eHymn to Intellectual Beauty.\u003c\/p\u003e \u003cp\u003eMont Blanc. Lines written in the Vale of Chamouni.\u003c\/p\u003e \u003cp\u003ePrometheus Unbound, Act I.\u003c\/p\u003e \u003cp\u003eOde to the West Wind.\u003c\/p\u003e \u003cp\u003eAdonais: An Elegy on the Death of John Keats, Author of ‘Endymion’, ‘Hyperion’, etc.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eFelicia Hemans, née Browne (1793--1835)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eProperzia Rossi.\u003c\/p\u003e \u003cp\u003eThe Homes of England.\u003c\/p\u003e \u003cp\u003eThe Spirit’s Mysteries.\u003c\/p\u003e \u003cp\u003eThe Graves of a Household.\u003c\/p\u003e \u003cp\u003eThe Image in Lava.\u003c\/p\u003e \u003cp\u003eCasabianca.\u003c\/p\u003e \u003cp\u003eThe Lost Pleiad.\u003c\/p\u003e \u003cp\u003eThe Mirror in the Deserted Hall.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJohn Keats (1795--1821)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eOn First Looking into Chapman's Homer.\u003c\/p\u003e \u003cp\u003eThe Eve of St Agnes.\u003c\/p\u003e \u003cp\u003eLa Belle Dame Sans Merci.\u003c\/p\u003e \u003cp\u003eOde to Psyche.\u003c\/p\u003e \u003cp\u003eIf by dull rhymes our english must be chain’d.\u003c\/p\u003e \u003cp\u003eOde to a Nightingale.\u003c\/p\u003e \u003cp\u003eOde on a Grecian Urn.\u003c\/p\u003e \u003cp\u003eOde on Melancholy.\u003c\/p\u003e \u003cp\u003eOde on Indolence.\u003c\/p\u003e \u003cp\u003eTo Autumn.\u003c\/p\u003e \u003cp\u003eBright star, Would I Were Stedfast as thou art.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLetitia Elizabeth Landon (L. E. L.) (1802--38).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eLines Written under a Picture of a Girl Burning a Love-Letter.\u003c\/p\u003e \u003cp\u003eA Child Screening a Dove from a Hawk. By Stewardson.\u003c\/p\u003e \u003cp\u003eLines of Life.\u003c\/p\u003e \u003cp\u003eFelicia Hemans.\u003c\/p\u003e \u003cp\u003eIndex of Titles and First Lines\u003c\/p\u003e  \"This poetry anthology is impressive because of its carefully lucid headnotes and footnotes, its thematic contents lists and its textual reliability, all of which are a very high order.\" (\u003ci\u003eBARS Bulletin \u0026amp; Review\u003c\/i\u003e, July 2008)  \u003cp\u003e\"The editors have a particular commitment to the role that an appreciation of poetic form can play in critical understanding, and it is on account of this formal detail that the anthology is so valuable. Introductory headnotes elucidate the subtleties of each poem's craft, while footnotes comment on line endings, rhyme patterns, and other features of the text. Some comments are so brilliantly incisive as to deserve separate publication, such as the account of the metre of \u003ci\u003eChristabel\u003c\/i\u003e: 'each line seems like a stealthy event' (p. 207). Without question, this is by far the best way that any reader could be introduced to these poets, and the anthology is careful not to suggest that an attention to poetic detail precludes other types of investigation. Understanding how a poem creates meaning, however, is the vital first step, and for this reason \u003ci\u003eRomantic Poetry: An Annotated Anthology\u003c\/i\u003e will doubtless be the standard teaching anthology for many years.\" \u003ci\u003eYear's Work of English Studies (2010)\u003c\/i\u003e\u003c\/p\u003e  \u003cb\u003eMichael O’Neill\u003c\/b\u003e is Professor of English at Durham University. He is currently a Director of the University’s Institute of Advanced Study. He has published books, chapters, and articles on many aspects of Romantic and twentieth-century poetry, and received a Cholmondeley Award for Poets for his own poetry in 1990. His latest monograph is \u003ci\u003eThe All-Sustaining Air: Romantic Legacies and Renewals in British, American, and Irish Poetry since 1900\u003c\/i\u003e (2007).\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\u003cb\u003eCharles Mahoney\u003c\/b\u003e is Associate Professor of English at the University of Connecticut, where he is also currently the Associate Director of the University of Connecticut Humanities Institute. He has published on a number of Romantic writers, including William Hazlitt and Leigh Hunt, and is presently at work on a project entitled \u003ci\u003eRevolutionary Measures: Romanticism, Formalism, Criticism\u003c\/i\u003e.\u003c\/p\u003e  Discussing theme, genre, structure, rhyme, form, imagery, and influences, this \u003ci\u003eAnnotated Anthology\u003c\/i\u003e examines the central features of Romantic poetry. The volume introduces key poems from major poets, including Blake, Wordsworth, Coleridge, Byron, Shelley, Hemans, and Keats. Helpful headnotes and annotations provide relevant contextual information and in-depth commentary on a number of carefully selected poems.\u003cbr\u003e \u003cp\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003eThis invaluable text is easily adaptable as both an anthology and an insightful guide to reading and understanding Romantic poetry.\u003c\/p\u003e  \"\u003ci\u003eRomantic Poetry\u003c\/i\u003e is the ideal anthology for students and specialists alike, defining a new canon of ten Romantic poets and reflecting the full diversity of Romantic poetic forms. All readers will welcome the freshly-edited texts, the authoritative headnotes and annotations, and the thought-provoking introduction. Edited by two leading scholars of Romanticism, the new Blackwell anthology of Romantic poetry will be the first choice for the classroom, library, and private study.\"\u003cbr\u003e –Nicholas Roe, University of St Andrews\u003cbr\u003e   \u003cp\u003e\u003cbr\u003e \"This is a welcome and usefully up-to-date new anthology, providing, in a concise and manageable selection, a genuinely representative overview of the canon of romantic poetry, as it is comprised today by the works of poets of both sexes. O’Neill’s excellent introduction pulls off the difficult feat of offering, to the first-time reader or student, a coherent and accessible summary of its subject without being reductive or overly simplifying. The introduction is nicely complemented by the thematically divided list of texts, particularly user-friendly from the undergraduate point of view. Prefaces, which address both individual poems as well as each poet more generally, are critical rather than merely informative; the annotations too, are more detailed and explanatory than the more minimal glosses usually provided in comparable publications.\"\u003cbr\u003e –Uttara Natarajan, Goldsmiths College, University of London\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989972467941,"sku":"NP9780631213178","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780631213178.jpg?v=1761786083","url":"https:\/\/k12savings.com\/products\/romantic-poetry-isbn-9780631213178","provider":"K12savings","version":"1.0","type":"link"}